Head Of Post-production
Infinitely Polar Bear (2014)
Directed by: Maya Forbes
Cinematography by: Bobby Bukowski
Edited by: Michael R. Miller
Cameras: ARRI ALEXA Camera
Lenses: Angenieux Optimo Style Lenses
Head Of Production: CO3
Saving Mr. Banks (2013)
Directed by: John Lee Hancock
Cinematography by: John Schwartzman
Edited by: Mark Livolsi
Head Of Production: Company 3
Star Trek Into Darkness (2013)
Directed by: J.J. Abrams
Cinematography by: Dan Mindel
Head Of Production: Company 3
Pain & Gain (2013)
Directed by: Michael Bay
Cinematography by: Ben Seresin
Cameras: Canon EOS-7D Camera, GoPro HD Hero3 Camera, Panavision Panaflex Millennium XL2 Camera, Phantom HD Gold Camera, Red Epic Camera
Editing System: Avid Editing System
Head Of Production: CO3
The Spectacular Now (2013)
Directed by: James Ponsoldt
Cinematography by: Jess Hall
Edited by: Darrin Navarro
Digital Intermediate Head Of Production
The Purge (2013)
Directed by: James DeMonaco
Cinematography by: Jacques Jouffret
Edited by: Peter Gvozdas
Cameras: ARRI ALEXA Plus Camera
Editing System: Avid Editing System
Digital Intermediate Head Of Production: Company 3
2 Guns (2013)
Directed by: Baltasar Kormákur
Cinematography by: Oliver Wood
Edited by: Michael Tronick
Digital Intermediate Head Of Production: Company 3
Stand Up Guys (2012)
Directed by: Fisher Stevens
Cinematography by: Michael Grady
Edited by: Mark Livolsi
Cameras: Red Epic Camera
Digital Intermediate Head Of Production: Company 3
Spring Breakers (2012)
Directed by: Harmony Korine
Cinematography by: Benoît Debie
Edited by: Douglas Crise
Cameras: ARRICAM Lite (LT) Camera
Digital Intermediate Head Of Production
Hello I Must Be Going (2012)
Directed by: Todd Louiso
Cinematography by: Julie Kirkwood
Edited by: Tom McArdle
Cameras: ARRI ALEXA Camera
Lenses: Zeiss Ultra Prime Lenses
Digital Intermediate Head Of Production
Celeste & Jesse Forever (2012)
Directed by: Lee Toland Krieger
Cinematography by: David Lanzenberg
Edited by: Yana Gorskaya
Cameras: ARRI ALEXA Camera
Digital Intermediate Head Of Production: Company 3
The Sessions (2012)
Directed by: Ben Lewin
Cinematography by: Geoffrey Simpson
Edited by: Lisa Bromwell
Cameras: Red One MX Camera
Head Of Post-production
Robot & Frank (2012)
Directed by: Jake Schreier
Cinematography by: Matthew J. Lloyd
Edited by: Jacob Craycroft
Cameras: ARRI ALEXA Camera
Lenses: Cooke S4 Lenses
Digital Intermediate Head Of Production
The Company You Keep (2012)
Directed by: Robert Redford
Cinematography by: Adriano Goldman
Edited by: Mark Day
Cameras: ARRICAM Lite (LT) Camera
Head Of Production: Company 3
Underworld Awakening (2012)
Cinematography by: Scott Kevan
Edited by: Jeff McEvoy
Cameras: Red Epic Camera
Head Of Production: Company 3
Prometheus (2012)
Directed by: Ridley Scott
Cinematography by: Dariusz Wolski
Edited by: Pietro Scalia
Cameras: ARRI ALEXA Camera, Red Epic Camera
Lenses: Angenieux Optimo 15-40 mm T2.6 Lens, Angenieux Optimo 28-76 mm T2.6 Lens, Panavision Primo Primes Spherical Lenses, Zeiss Ultra Prime Lenses
Editing System: Avid Editing System
Head Of Production: Company 3
Machine Gun Preacher (2011)
Directed by: Marc Forster
Cinematography by: Roberto Schaefer
Edited by: Matt Chesse
Lenses: Angenieux HR 25-250 mm T3.5 Lens, Hawk V-Lite 16 110 mm T3.0 Lens, Hawk V-Lite 16 14 mm T1.5 Lens, Hawk V-Lite 16 18 mm T1.5 Lens, Hawk V-Lite 16 24 mm T1.5 Lens, Hawk V-Lite 16 28 mm T1.5 Lens, Hawk V-Lite 16 35 mm T1.5 Lens, Hawk V-Lite 45 mm T2.2 Lens, Hawk V-Lite 55 mm T2.2 Lens, Hawk V-Lite 65 mm T2.2 Lens, Hawk V-Lite 80 mm T2.2 Lens
Digital Intermediate Head Of Production
Dream House (2011)
Directed by: Jim Sheridan
Cinematography by: Caleb Deschanel
Digital Intermediate Head Of Production
The Lincoln Lawyer (2011)
Directed by: Brad Furman
Cinematography by: Lukas Ettlin
Edited by: Jeff McEvoy
Cameras: Red One MX Camera
Digital Intermediate Head Of Production
Drive (2011)
Directed by: Nicolas Winding Refn
Cinematography by: Newton Thomas Sigel
Edited by: Matthew Newman
Head Of Production: Company 3 LA
Transformers: Dark of the Moon (2011)
Directed by: Michael Bay
Cinematography by: Amir Mokri
Cameras: ARRI ALEXA Camera, ARRIFLEX 235 Camera, Panavision Panaflex Lightweight Camera, Panavision Panaflex Platinum Camera, Red One MX Camera, Silicon Imaging SI-2K Camera, Sony CineAlta F35 Camera, VistaVision Cameras
Lenses: Panavision C Series Anamorphic Lenses, Panavision E Series Anamorphic Lenses, Panavision G Series Anamorphic Lenses, Zeiss Master Prime Lenses
Editing System: Avid Editing System
3d Digital Intermediate Producer: Company 3
Alice in Wonderland (2010)
Directed by: Tim Burton
Cinematography by: Dariusz Wolski
Edited by: Chris Lebenzon
Cameras: Dalsa Evolution Camera, Panavision Genesis Camera, Panavision Panaflex Platinum Camera, Sony HDC-F950 Camera
Editing System: Avid Editing System
Digital Intermediate Producer
All Good Things (2010)
Directed by: Andrew Jarecki
Cinematography by: Michael Seresin
Digital Intermediate Producer: Company 3
Brooklyn's Finest (2009)
Directed by: Antoine Fuqua
Cinematography by: Patrick Murguia
Edited by: Barbara Tulliver
3d Digital Intermediate Producer
G-Force (2009)
Directed by: Hoyt Yeatman
Cinematography by: Bojan Bazelli
Digital Intermediate Producer
Henry Poole Is Here (2008)
Directed by: Mark Pellington
Cinematography by: Eric Schmidt
Edited by: Lisa Zeno Churgin
Digital Intermediate Producer
Shine a Light (2008)
Directed by: Martin Scorsese
Cinematography by: Robert Richardson
Edited by: David Tedeschi
Digital Intermediate Producer
Fantastic Four: Rise of the Silver Surfer (2007)
Directed by: Tim Story
Cinematography by: Larry Blanford
Cameras: Pan-Arri 235 Camera, Panavision Genesis Camera, Panavision Panaflex Millennium XL2 Camera, Panavision Panaflex Platinum Camera, Wescam Cameras
Editing System: Avid Editing System, Sony Vegas Editing System
Digital Intermediate Producer
August Rush (2007)
Directed by: Kirsten Sheridan
Cinematography by: John Mathieson
Edited by: William Steinkamp
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Intermediate Producer
16 Blocks (2006)
Directed by: Richard Donner
Cinematography by: Glen MacPherson
Edited by: Steve Mirkovich
Cameras: Panavision Cameras
Lenses: Panavision Lenses
Digital Intermediate Producer
Lucky Number Slevin (2006)
Directed by: Paul McGuigan
Cinematography by: Peter Sova
Edited by: Andrew Hulme
Digital Intermediate Producer
Scary Movie 4 (2006)
Directed by: David Zucker
Cinematography by: Thomas E. Ackerman
Cameras: Panavision Genesis Camera
Digital Intermediate Producer
Deck the Halls (2006)
Directed by: John Whitesell
Cinematography by: Mark Irwin
Digital Intermediate Producer: Technicolor Digital Intermediate
The Departed (2006)
Directed by: Martin Scorsese
Cinematography by: Michael Ballhaus
Edited by: Thelma Schoonmaker
Lenses: Angenieux Optimo Zoom Lenses, Zeiss Master Prime Lenses, Zeiss Ultra Prime Lenses, Zeiss Variable Prime Lenses
Editing System: Lightworks Editing System
Digital Intermediate Producer
Kiss Kiss Bang Bang (2005)
Directed by: Shane Black
Cinematography by: Michael Barrett
Edited by: Jim Page
Digital Intermediate Producer
Sky High (2005)
Directed by: Mike Mitchell
Cinematography by: Shelly Johnson
Edited by: Peter Amundson
Digital Intermediate Producer
Flightplan (2005)
Directed by: Robert Schwentke
Cinematography by: Florian Ballhaus
Edited by: Thom Noble
